Lollapalooza returned to Chicago August 1-4 to celebrate 20 years calling Grant Park home. While the mega-spectacle is not every music fan’s favorite way to take in the sounds and sights, it’s clearly not going anywhere. These days, the festival does more to pack the park with things that ultimately distract from said music, but there is always something about Lolla; a magic that can only be conjured by spending 10 hours a day baking in 90-degree heat with total strangers.
No activations, no branded, immersive experiences–just the artists. Here are sets we loved and loathed during Lollapalooza 2024.
Thursday
Tyla
Delivering the first jolt of starpower over the long weekend, Tyla continued capitalizing on her breakthrough year with a high-energy performance. Making it all look so simple, the South African singer had the crowd moving for much more than her hit “Water.” Flanked by a team of dancers in front of a giant tiger, being transported to Tyla’s world was easy–especially under the hot sun.
As much as streaming can be viewed as “evil,” global consumption of music has massively shifted taste and influence, and Afrobeat and Amapiano have been pushing much of that behind the likes of maybe only Reggaeton as far as crossover appeal. Tyla’s pop princess infusion makes her recipe a hard one to beat.
Jungle
Jungle, the dance project of London-based producers Josh Lloyd-Watson and Tom McFarland, has had a banner year since the release of their fourth studio album “Volcano.” And, after two, truly stellar live sets in the city during Lollapalooza weekend (an afternoon set opposite Chappell Roan in Grant Park on Thursday and aftershow at The Salt Shed on Friday), are officially one of the best live acts you could see.
Striking the perfect balance of electronica and ‘70s-tinged, funk-lite rhythms, the band has captured new audiences across the globe, due to–in part–the virality of summer single “Back on ‘74.” Vocalist and keyboardist Lydia Kitto glides across the stage with an effortless cool while helming a number of tracks, including the earwormy “Holding On,” while Lloyd-Watson and McFarland serve as anchors–managing the intricacies of a sound that could go so wrong live, but managed to stay pristine throughout (a feat for outdoor and indoor shows these days). While their Lollapalooza crowd paled in comparison to the 80,000+ that crowded the south end of the park for the aforementioned Midwest Pop Princess, Jungle’s after show crowd was insatiable.
Delivering everything from dynamic stage set-up and psychedelic lightshow to enormous beach balls surfing across the sea of sweaty bodies (which I usually hate, personally, but blame The Flaming Lips for that), the sold-out concert was exactly the kind you’d go out at midnight for. Culminating in an encore of “Keep Moving” from 2021’s “Loving in Stereo,” the 90-minute set was one of the most satisfying of the summer.
Chappell Roan
You could’ve already guessed. No one’s having a year quite like Chappell Roan and if her performance at Gov Ball in New York wasn’t already enough to convey that she, born Kayleigh Rose Amstutz, is a damn star — 80,000+ people on one side of the park at 5pm on DAY ONE of Lollapalooza (which usually has the smallest attendance) should get the point across. I mean, did you see the crowd photos?
While she admitted she was nervous and took the Lolla mainstage crying, Roan left an indelible mark on the festival and those hanging on her every word. Her boxing-themed set, complete with a ring and bodybuilders from Chicago’s Rockwell Barbell and other local gyms, and Roan briefly sporting a Lucha Libre mask, was quite literally a knock-out, from her vocal chops (particularly on new song “The Subway”) and fantastic band to the camaraderie in the audience.
Aptly-dubbed “Chappell-palooza” since, the presentation of tracks from her debut LP “The Rise and Fall of a Midwest Princess”--opening with the ludicrously anthemic “Femininomenon” and including the all-too-relatable, situationship ballad “Casual,” deliciously biting “My Kink is Karma,” dance-ready “Hot To Go!” and mega-hits “Good Luck, Babe!” and “Pink Pony Club”--was awarded a rapturous reception. As was incredibly deserved.
Kesha
Kesha does really feel like a certain era of pop music’s Final Girl. So much so, she brought that to her Lollapalooza set–complete with fake blood and Scream-esque knife play. All in good fun, of course. Opening with “Your Love is My Drug,” the singer instantly brought elder millennials back to their college days–complete with copious amounts of body glitter.
While her career has been mired in legal troubles, it was clear the stage is still her refuge–her fans, her safe place. And “Praying” from 2017’s “Rainbow” will still make you (me) cry.
Labrinth
He’s best known in the states for his association with HBO series “Euphoria,” but singer-songwriter Labrinth is a true talent with a much bigger voice than some of his music lets on. Have you listened to “The Feels”? It’s been stuck in my head since.
Benson Boone
If you still haven’t heard Benson Boone’s “Beautiful Things,” where do you get your music from?
The American Idol alum, who withdrew from the show ahead of Hollywood Week in its 19th season, decided to take the Gen Z route and utilize TikTok to reach current career heights and it paid off. His evening set on Thursday was infectious, powered by power-pop and Boone’s dexterous vocals; a celebration of his debut album “Fireworks & Rollerskates” released in April. There’s a sweetness to his music that’s not overwrought, it’s inherent–and it’s nice.
Megan Thee Stallion
Fresh off her call of “Hotties for Harris,” Megan Thee Stallion brought real hot girl sh-t to the Lollapalooza stage Thursday–complete with a surprise appearance from Chicago Sky forward (Megan’s self-proclaimed “twin”), Angel Reese. If you hadn’t practiced your “Mamushi” dance ahead of Lolla, no worries. There were quick tutorials popping up all over the lawn.
Announced as a replacement after Tyler, the Creator canceled all his remaining festival appearances, Meg did what she does best–rap, twerk, make you want to be her best friend. Opening with her Nicki Minaj diss track “HISS” and wasting no time moving through over 20 songs from her catalog during her set including “Freak Nasty,” “Hot Girl,” “Cognac Queen” and “Big Ole Freak” from her Tina Snow era, Thee Stallion proved she didn’t need to prove anything.
Friday
RAYE
English singer-songwriter Raye spins pop music and contemporary jazz vocals into seriously intoxicating melodies. Even her scatting was delightful.
With the release of her debut album “My 21st Century Blues” last year, she quickly garnered acclaim from critics for her vulnerable and clever lyrics tackling everything from sexual assault and body dysmorphia to misogyny and addiction. Musically, it’s so slick it almost cushions the blows–which lent itself well to the live festival setting, where no one’s intentionally looking for or to be a downer. Backed by a masterful band blending elements of blues and hip-hop into the fold, Raye garnered a massive crowd by the set’s end.
After, she joined fellow jazz artist Laufey during her performance with the Chicago Philharmonic on the Bud Light stage to cover Jimmy Van Heusen’s 1943 standard “It Could Happen to You.” A very special, unique Lollapalooza moment.
Sexxy Red
St. Louis rapper Sexxy Red has the Song of the Summer with “Get It Sexxy” (I don’t care that it came out in March and most of you have since bestowed that title to Sabrina Carpenter’s “Espresso,” it’s still everywhere) – however, the Lollapalooza set was…unfulfilling.
Once the giant, inflatable, hot pink “Make America Sexxy Again” hat hit the stage, the vibe of the crowd shifted and quickly became suffocating. So much so, a voice came over the loudspeaker asking attendees to take three steps back to alleviate pressure in front of the stage. Fifteen minutes past the scheduled start time, a DJ took the stage to warm-up an audience that didn’t need warming up. By the time Sexxy got on the mic, her set was more than half over.
Unnecessary bites of cover songs were a further distraction, but “Get It Sexxy” and “SkeeYee” back-to-back hit [*insert shrug emoji here*].
Victoria Monet
Winning the Grammy for Best New Artist for a reason, Victoria Monet used every second of her hourlong Lollapalooza set to remind you what exemplary showmanship looks like. Which is why I was shocked to find she had a much smaller crowd than Sexxy Red on the north end of the park.
No matter–those who were there saw she was doing what needed to be done. Along with her dancers, Monet displayed notes taken from generation’s of R&B and pop divas past–complete with interludes and costume changes. Delivering a capsule of songs from “Jaguar II” including “Party Girls,” “Cadillac (A Pimp’s Anthem)”, “Stop Askin’ Me 4Shyt)” and inescapable “On My Mama,” Monet’s performance was captivating. All of that in an hour? Imagine what she’ll be able to pull off when she headlines next time…
Renee Rapp
Dear artists. We know there are certain things you’re going to do when you play Chicago. You’re going to throw out the first pitch at either a Chicago Cubs or White Sox game, you’re going to perform in a custom Bulls jersey, you’re going to post something about deep dish pizza…*eye roll*
In more recent years, bringing out Chance the Rapper to perform “No Problem” has been added to this list of unnecessary, pandering annoyances–and Renee Rapp is the latest to fall into the trap.
I do get it. Rapp shared a story about how “Coloring Book” was her favorite album of 2016 (apart from Frank Ocean’s “Blond”) and has been a fan of Chance’s for so long, so yes–this was a moment, sure. And the fans ate it up, because of course they did. But Joey Bada$$ did the same thing last year and someone else did it in 2022 who I can’t remember now, so please just stop the madness.
Besides that, Rapp has solidified herself as one of pop’s newest tour de forces. The vocals on “Bruises”? Stop.
SZA
SZA knew that cute, cropped fur coat wasn’t long for wear during her headlining Lollapalooza set on Friday night. There was no real cooling off this weekend, but she didn’t seem to mind.
Opening her set with “PSA” into “Love Galore” from her now-seminal debut LP “Ctrl,” the singer took her time to bask in the weight of the moment–then delivered. Vocal runs? Check. Tempo changes? Check. A little drama? Of course, you’re listening to SZA. While her mic was cut-off at 10:16pm (a quarter past the scheduled curfew), she arguably left it all on the stage. As far as song selection and sequencing–no one did it better this weekend.
For the record, is “Drew Barrymore” still absolutely devastating-yet-cathartic to sing out loud, with strangers en masse? Yes. Don’t text that man.
Saturday
Deftones
The resurgence of Deftones has felt as out of left field as much as it totally makes sense. I can’t remember how I found myself in the annals of Deftones Tik-Tok, but they run deep. In the modern reassessment of late ‘90s/early ‘00s nu-metal by fans and critics alike, apart from Limp Bizkit, no one’s come out more beloved than the Sacramento outfit led by enigmatic, moan-scream king, Chino Moreno.
It’s part of their appeal, as they’ve always set themselves apart by experimenting with myriad influences to create their own hard edges while managing to…arouse (there’s literally no way around it, of all of the nu-metal bands, Deftones are the horniest–or, as one meme put it “Korn that f–ks.”
All was on full display during both the band’s Saturday evening Lolla set and late-announced after show at Metro on Thursday–which sold-out quickly. While they performed the same setlist, it was explosive both times, so really what’s there to complain about? From the opening notes of “Feiticeira” and “My Own Summer (Shove It)” to the ferocity of “Lotion” in contrast to hushed, slow builds of “Sextape,” “Mascara,” and crowd-favorite “Change (in the House of Flies)”--the band were a prime example of when “alternative” meant something.
Future X Metro Boomin’
Of all the headlining sets, none were more disappointing than Future and Metro Boomin’’s Saturday night invitation to the We Don’t Trust You Tour–which was a huge bummer because of the rumors of special guests and surprises that swirled around their set post-Kendrick vs. Drake beef. Unfortunately, we don’t have time to get fully into that–but hopes were high. Yet Metro didn’t even give us a second of “BBL Drizzy” and no one joined the duo to reignite theirs or the crowd’s energy.
Arriving at 9:15pm after a 8:45-scheduled start time, Metro and Future appeared through the strobe lights and flames that shot from the front of the stage. With the opening bars of “Superhero (Heroes & Villains),” Future–one of modern hip-hop’s most influential artists–relied heavily on his backing track. As “Thought It Was a Drought” played, the music was periodically cut out to amplify the crowd’s singing, but instead gave way to mostly silence. Not that there weren’t folks absolutely hyped–but for what, apart from just the presence of those on stage, I’m not entirely sure.
As “Wicked” transitioned into Young Thug’s “Relationship,” the show was briefly paused–with a request of the crowd to take five steps back coming in over the speakers to prevent anyone from being crushed. But the delay sent most fans to the gates to get some rest ahead of Lolla’s final day. “Mask Off” and “Type Shit” (played for a fourth time) rounded out the set of all bombast, little substance.
The Killers
At this stage in their career, The Killers are consummate professionals. The boxes are checked. Live your karaoke fantasy and sing as long as you can, I’m sure Brandon Flowers prefers it that way nowadays. “Mr. Brightside” has become “Sweet Caroline” for millennials, we’ve reached that level.
Sunday
Teddy Swims
Atlanta-born Teddy Swims sang his ass off Sunday afternoon. Period. A little country, a little rock and roll, Swims and band were no frills, no gimmicks–just straight-up roots music with a lot of soul. I love a good, down and dirty set like that.
Vince Staples
Vince Staples has become one of hip-hop’s most unintentionally funny emcees simply by being himself in all ways, at all times. He parlayed his deadpan delivery and dry observational wit into his hit Netflix series “The Vince Staples Show” (please give us a second season), but when it comes out on stage–it is truly something to behold.
Case in point–Staples’ Lollapalooza set, during which he was looking for a fan to sing his song “Big Fish” after some back-and-forth banter with a few attendees. Once it was clear the selected fan (who was white) had oversold his lyrical knowledge, delivering the lines “I was up late night ballin'/Countin' up hundreds by the thousand” a few times before admitting to the crowd he was “so f—d,” Staples encouraged him to try again before staying true to form and throwing in some joke ad-libs from behind like “White power” and “Reparations, am I right?”
Good sports all around, Staples and the audience made sure he knew they were laughing with him and not at him–but it made for a moment only Vince Staples could provide. As the set continued, he got back into his groove, doling out other songs including “Are You With That?” “FUN!” “Norf Norf” and “Black & Blue.”
The Last Dinner Party
The Last Dinner Party performs the way I used to with my imaginary band in my bedroom when I was a (pre)teenager–and I mean that as a compliment. Twirling is rock and roll.
The British indie rockers have shot to the top of artists to know lists since the release of their debut album “Prelude to Ecstasy”--an artful immersion into their baroque-pop sound and look that has drawn comparisons to the likes of Kate Bush and Florence and the Machine. Personally, I believe we could always use more of that–especially when it comes with songs like “The Feminine Urge,” “Sinner” and “Nothing Matters.”
Packing in a massive crowd on the Tito’s Stage (known at the park’s Petrillo Music Bandshell), those passing by asking “Who is this? Have you heard of this band before?” quickly found out.
Unreleased song “Second Best” hinted at even more promise of grandeur (and slight doom) from the quintet (plus touring drummer Casper Miles), and a surprise cover of Blondie’s “Call Me” showed how much they totally rip.
Blink 182 headlined Lollapalooza, with Tom Delonge this time, and very quickly reminded everyone they’re still those guys running around naked in the “What's My Age Again?” video. A nostalgia act now (sorry, guys—own it!) that echoes the days of shopping at the mall, Warped Tour, and watching the newest episode of Jackass on MTV after school. Simpler times.
“What’s up, you f—--g perverts?!” Mark Hoppus welcomed the crowd after the band’s one-two-punch of “Feeling This” and “Rock Show.”
Dick jokes, jokes about sleeping with your mom, crude sex jokes–Blink 182 had them all in addition to the songs you wanted to hear–”Aliens Exist,” “First Date,” “What’s My Age Again?” and “I Miss You.” They sounded good, yes, but that’s really it. Blink 182 is a band that feels like dudes you were friends with in high school who you can now only take in small doses. But hey, they did manage to fit a bit of “Pink Pony Club” into “Dammit.”
And yes, Kourtney Kardashian Barker was present.